張愛玲 극본 영화 <不了情>과 <太太萬歲> 분석

Abstract

Eileen Chang, who could not write a new novel because of political circumstances since 1945, started new career as film scenario writer. Before leaving China, she wrote “Love without End” and “Long Live the Wife,” which made huge success when produced by director Sang Hu. Hallmarks of her writing still remains in the two works, particularly in that their theme of home and love, and female consciousness underneath the material of “home” go in line with Chang’s focus on vulgarity and femininity found in her novels. Although her movies’vulgarity had an influence on Hollywood pictures, her works are of great importance in that they inherited traditions of Chinese conventional literature. Citing lives of middle-class women, Chang also suggested that for women, survival equaled victory from a post-ideological perspective. Home is not only a place where vulgarity of her works is revealed but the final space for survival for women. For Eileen Chang, her praise for women’s survival was resistance against the Chinese patriarchism as well as denial of the New Culture Movement which had turned a blind eye to the old-fashioned way of women’s lives because of class ideology. Her viewpoint on females resulted from her “vulgar” and “popular” attention to the majority of women, who were not self-conscious, instead of minor, self-conscious ones. In this sense, her scripts havea number of factors, which dismantle enlightening, ideology-oriented grandiose epics often found in mainstream films. Chang’s works brought new life for women after the May Fourth Movement; she filled the vacancy left after the movement with New Women, the survivors. And the writer herself was one of them.